Top 1200 Never Ending Story Quotes & Sayings - Page 12

First of all, I never set out to be a whistleblower. Secondly, I never expected that my story would be interesting to anybody. Third of all, you know, I was actually terrified of being named, of being identified.

You never have to look over your shoulder when you tell the truth. You never have to remember the details, because they are what they are. And you don't have to make sure your story matches everyone else's.

It is only the story...that saves our progeny from blundering like blind beggars into the spikes of the cactus fence.The story is our escort;without it,we are blind.Does the blind man own his escort?No,neither do we the story;rather,it is the story that owns us.

Last year I picked up the New York Times and there was a story about a kid from Dartmouth who was bragging that he never left his room, and made dates and ordered pizza with his computer. The piece de resistance of this story was that he had two roommates, and he was proud of the fact that he only talked to them by computer.

People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.

You don't pay any attention to anything anyone else says, no opinions. The important thing is to explode with a story, to emotionalize a story, not to think it. You start thinking - the story's going to die on its feet.

I never make notes; just a few small details when I'm writing, but nothing much. The plot is never written down. I will tell the story to myself, but I won't plan it. I'll speak the narrative in my head for a while.

I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story, and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.

The reason why I hate working in theatre is the tedium of memorisation. But once that is done, then you feast on this never-ending meal. If you play it correctly, every night is fraught with very high stakes that are very difficult to find in everyday life.

And so, we end with a beginning. Because every ending is really a beginning. All you need is a house that's old and creaky ... filled with lots of books ... a cat ... a person who's willing to try again ... someone who promises never to leave ... and most important of all ... a little Hope.

'Somnia' is a story about loss and, I guess, what you're willing to do to have closure and try and feel whole again. It's a story of redemption in a sense. I don't want to give too much away, but it's a heartbreaking story that's incredibly terrifying.

I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.

Throughout your life advance daily, becoming more skilful than yesterday, more skilful than today. This is never-ending.

'Farscape' is a story about family. It's a story about creating life in a harsh environment. That's what a lot of people relate to in the story.

What I often do in my work is to take a great story, such as the Odyssey, the search for the Grail, the story of Jesus, or the story of the great peacemaker who helped create the Iroquois Confederacy in the 15th century. I then use these tales as templates upon which to weave psychological and spiritual exercises which allow us to open ourselves up to the larger venue of a story.

It's asking that never-ending question, 'Who am I?' which motivates me and takes me on a constant journey of self-discovery that teaches me so much. Will Everest make me more cautious? In reality, probably not.

The good writer and the good actor are always searching for what is essential. It is a never-ending task because what is essential is always elusive and, therefore, fascinating.

I didn't know many people in London and became depressed, ending up in therapy. One day, the therapist called me Josh instead of Jacob, and I was mortified. I was telling this woman things I'd never told anyone, and she didn't even know my name.

I think one is naturally impressed by anything having a beginning a middle and an ending when one is beginning writing and that it is a natural thing because when one is emerging from adolescence, which is really when one first begins writing one feels that one would not have been one emerging from adolescence if there had not been a beginning and a middle and an ending to anything.

Taking friendships for granted is one of the surest ways of ending them. Unless nourished, they tend to wither and die. Unless we earnestly desire its continuance we should never start a friendship any more than we would a love affair.

I always say, "Never give your lead character an infant. Make them a recovering alcoholic, or the victim of a horrible violent crime because you can really never truly recover from that." It's a story pitfall.

Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'

Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.

I wrote as a kid, but I never wanted to be a writer particularly. I had been drawing and painting for years and loved that. And I meditate, and one time when I was meditating, I started thinking, "Gee Gail, you love stories -- you read all the time. How come you never tell yourself a story?" While I should have been saying my mantra to myself, I started telling myself a story. It turned out to be an art appreciation book for kids with reproductions of famous artworks and pencil drawings that I did. I tried to get it published and was rejected wholesale.

I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.

With literature, sometimes a book is presented in the media as being say, a Muslim story or an African story, when essentially it's a universal story which we can all relate to it, no matter what race or social background we come from.

Why are Washington and Oregon the home turf of every violent Left-wing radical? It seems to be a never-ending cycle of radical Lefties burning down Starbucks and moderate lefties upset they can't get their lattes.

By the time you get into other kinds of music - R&B, country, or whatever - it becomes something that's romantic. It becomes something unattainable. Never-ending undying love. And in hip hop, we're still taking direct inspiration.

You must learn to know the difference between tales and the truth, my Liza, she would say. Fairy tales have a habit of ending too soon. They never show what happens afterwards when the prince and princess ride off the page.

The convention of the coming-of-age story and the love story were literally abandoned - because they had to be - and a new kind of coming-of-age and love story emerged that required a different kind of telling the story.

I don't know what the definition of a short story is, and I don't even care to answer that question. That's something somebody in academia would think about. I just want to tell a story, and if people listen, and if it stays with you, it's a story.

There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.

A good story, just like a good sentence, does more than one job at once. That's what literature is: a story that does more than tell a story, a story that manages to reflect in some way the multilayered texture of life itself.

Like a circle in a spiral Like a wheel within a wheel Never ending or beginning On an ever-spinning reel As the images unwind Like the circles that you find In the windmills of your mind.

There is a huge set of consequences that start stacking up as you approach the end-game. And even in terms of the ending itself, it continues to break down to some very large decisions. So it's not like a ****c game ending where everything is linear and you make a choice between a few things - it really does layer in many, many different choices, up to the final moments, where it's going to be different for everyone who plays it.

I've always known when I start a story what the last line is. It's always been the case, since the first story I ever wrote. I don't know how it's going to get there, but I seem to need the destination. I need to know where I end up. It never changes, ever.

This world is not one color or culture. Everybody has a story. To tell that story or see that story reflected through art is extremely valuable to the community. The arts belong to everyone and our work should reflect that diversity.

The story of the decadence of the cathedral as a moral power, a spiritual energizer in civilization, is the sad but inevitable story of dogmatism. It is the story of the struggle of free thought with bigotry, religion making common cause with the wrong side.

The biggest problem in the fictional treatment of sex is that it's not treated as part of the story but as a pause from the story. The best sex scenes in fiction are the ones that advance the story.

The task is not primarily to have a story, but to penetrate the story, to discard the elements of it that are merely shell, or husk, that give apparent form to the story, but actually obscure the essence. In other words, the problem is to transcend the givens of a narrative.

The story of American pop music is the story of failure. The blues, country music, it's not the story of success. People don't win; they lose.

When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.

If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.

With literature, sometimes a book is presented in the media as being say, a Muslim story or an African story, when essentially it's a universal story which we can all relate to it, no matter what race or social background we come from

'Game Never Ending' came out of an earlier game called 'NeoPets,' a children's game that adults also played. It was a series of mini-games where you accrue points and can acquire objects - houses and all kinds of stuff.

Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.

It's cool to see everybody come together and do their own thing, but there's never been any drama. I never saw any on the X-Men set, and I never saw any on the Horror Story set.

If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.

I think when we get to a place that this is not the story, that everyone's story is a part of the story, then we can say this has changed. Until then, these are steps to change if they're consistent.

Economic history is a never-ending series of episodes based on falsehoods and lies, not truths. It represents the path to big money. The object is to recognize the trend whose premise is false, ride that trend and step off before it is discredited.

I've always been a perfectionist, so I always wanted to sound better than I did. But, that's a never-ending process. You always want to get better. There's always room to grow.

I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.

A lot of it was, you know, you look for moments where, for instance, we were dependent on Abraham Lincoln making sure that the slaves were freed or John Kennedy bringing civil rights, or the first one I wrote about, George Washington trying to stop the British from invading and ending this country before it even began. Those were turning points where, if you had not had a president stepping up to the plate, if there wasn't a story like that, we would not be here.

The only thing you can do is have "job training" for people for the new jobs that we're gonna create after the job you have leaves for Mexico. Job training? Are you kidding? That's what schools are! That's the never-ending promise of liberalism.

Once in 1919, when I was traveling at night by train, I wrote a short story. In the town where the train stopped, I took the story to the publisher of the newspaper who published the story.

The media traditionally is simply an arm of the Democrat Party that is used in service of advancing the Democrat Party agenda, and the Republicans haven't come up with a way of having a more engaging, entertaining story because the Republican story is never anything other than, "We don't want Democrat X to have what he wants."

Never tell a story because it is true: tell it because it is a good story.

For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.

America going into this huge, costly, never-ending war created huge debt, which became a huge problem in Congress and led to it stalling many times, putting a halt to different kinds of social progress.

The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.